Successfully using a Manfrotto product table?

Started Jun 10, 2012 | Discussions thread
UKphotographers Veteran Member • Posts: 4,330
Re: Shooting tables R Us...

Barrie Davis wrote:

UKphotographers wrote:

Barrie Davis wrote:

It's even less successful when trying to backlight the white background into a coloured one, using filter gels over the backlights. The front lighting washes out the colour in the general area, but leaves the shadows LESS de-saturated! Coloured shadows on pastel-ified backgrounds is not a good look.

If you put your mind to it, I'm sure you could figure how its done. Its not too difficult and saturation has never been a problem when I've done it. Each requirement needs a twist on the same basic solution, I find.

If that is what you prefer....

Nowadays I find it's easier to retouch to my heart's content in Photoshop than to mess about with large and potentially dangerous sheets of plate glass. In this I feel the same as Peter.

I never mentioned plate glass here. I was referring to obtaining saturated and not 'pastel-ified' colour, even when using a shooting table.

To the use of plate glass - this provides lighting opportunities that retouching can't match, so whether its liked or not, its a necessity.

It does come down to what you prefer though, and often thats a choice between what you have available to use and what don't have, Those occasions something can be cobbled together. I've done a fair amount of cobbling together in the past before I had a shooting table and out of choice I wouldn't go back. Crates and blocks are fine when appropriate, and I would still use them, but trying to keep areas clear for stand legs and light access is a real pain and obstruction.

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Theres only one sun. Why do I need more than one light to get a natural result?

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